【作者】 蒋兴忠；

【导师】 刘康华；

【作者基本信息】 中央音乐学院 ， 和声， 2011， 博士

【摘要】 谢尔盖·谢尔盖耶维奇·普罗科菲耶夫(Sergei Sergeyevich Prokofiev,1891—1953)是20世纪上半叶最杰出的作曲家之一。他的创作开始于二十世纪初,在功能和声极度扩张并逐渐走向调性解体、大部分作曲家各自寻求新奇手法突破调性禁锢的大环境中,他依然始终坚持调性音乐创作,且独树一帜,成就斐然,他的创作是二十世纪调性音乐创作的极好的典型范例。本文以普罗科菲耶夫的九首(全套)钢琴奏鸣曲为研究对象,以其奏鸣曲创作中的和声为研究内容,从调式调性、和弦材料、和弦关系、调性关系、整体结构等方面入手,研究其独特的调性和声思维与技法、及其发展轨迹。论文的主体内容由七章构成。第一章论述普罗科菲耶夫的创作思想与美学观念。在随后的五章中,根据奏鸣曲的创作时期与共性特点,将普罗科菲耶夫的九首奏鸣曲分别加以研究和论述。其中,第二章为早期创作的第一钢琴奏鸣曲和声的研究,第三章包括个性形成前期的第二、三、四钢琴奏鸣曲和声的研究,第四章是对其技法探索发展的第五钢琴奏鸣曲和声的研究,第五章则是关于个性张扬的第六、七、八钢琴奏鸣曲和声的研究,第六章是回归自然的第九钢琴奏鸣曲和声的研究。以上各章的研究中,均以其所涉及的奏鸣曲的和声技法及其发展线索为主要对象,分别加以论述。第七章是对这九首钢琴奏鸣曲的和声思维与技法发展轨迹的概括与总结。论文的结论是,普罗科菲耶夫在“古典”与“创新”两条创作路线的成功结合中,逐渐发展出了“声部导入技术”,并形成其独特的“导入和声”语言。这种“力度”与“色彩”相统一的和声语言,是使其九首钢琴奏鸣曲“调性中心清晰、功能独特鲜明、色彩丰富多变”的关键之所在。更多还原

【Abstract】 As one of the most prominent composers in the twentieth century, Sergei Sergeyevich Prokofiev (1891—1953) started his compositional career at the beginning of the twentieth century which saw the great expansion of functional harmony and the gradual disintegration of tonality. While most composers sought novel techniques to break free from the imprisonment of tonality, he was still wedded to the composition of tonal music, to which he made unique and brilliant contributions. Therefore his creations became outstanding examples of tonal music in the twentieth century.The subject of this dissertation is the harmony of all Prokofiev’s nine sonatas. This research includes the aspects of mode, tonality, chordal structures, chordal relationships, tonal relationships, and integral structure to discover the characteristics and evolution of his concepts and techniques of tonal harmony.The main content of this dissertation is contained in seven chapters. Chapter 1 discusses the aesthetic ideas behind Prokofiev’s compositions. The subsequent five chapters are divided according to Prokofiev’s compositional periods showing the common features of the sonatas. Chapter 2 examines the harmonic features of the first piano sonata from his early period. Chapter 3 discusses the harmonic characteristics of the second, third, and fourth piano sonatas, the period in which his musical personality was formed. Chapter 4 focuses on the harmony of the fifth piano sonata composed, the period in which his harmonic skills were progressed. Chapter 5 explores the harmonic practice of the sixth, seventh, and eighth piano sonatas that reflect his regressive compositional personality. Chapter 6 deals with the ninth piano sonata that espouses a natural simplicity. All the above chapters are concerned with harmonic techniques and their evolution in the sonatas discussed in the different chapters. Chapter 7 summarizes the characteristics and evolution of the concepts and techniques of tonal harmony in his piano sonatas.In his compositions, Prokofiev successfully combined the classic with the innovative, and gradually developed a voice-leading technique and a unique voice-leading harmonic language. The unity of strength and colorful harmonic language is the key to clear tonality, precise function, and rich color in his nine piano sonatas.更多还原